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COPYRIGHT DEPOSIT. 



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^risicilla J|arbanger J^ook 



A COLLECTION OF BEAUTIFUL DESIGNS IN 
HARDANGER EMBROIDERY 



l^itf) Heggong anb g)titcf)es! 



EDITED BY 



NELLIE CLARKE BROWN AND ELMA lONA LOCKE 
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PRICE. 25 CENTS 



PUBLISHED BY 
85 BROAD STREET. BOSTON. MASS. 



Copyright. 1909, by The Prucilla Publishing Company, Bojlon, Mats. 



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Fig. 21. Centrepiece. See Details, Fig. 22, Page 8, and Fig. 23, Page 9 



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SEP 10 1909 






J Stitches for Hardanger Embroidery 



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Fig. 2. KxosTF.R Stitch 
Worked Diacoxallv 



Kloster Stitch 



HARDANGER embroider\- takes its name from the little town of 
Hardanger on the fiord of that name in western Norway. The 
work in its original form is very old, as long ago in Persia and 
Asia it was worked in colored silks on a very fine gauze netting. The 
work is easily done, and is not trying to the eyes or nerves. The one 

absolutely necessary requirement is the cor- 
rect counting of the threads. 

As the square is the principle upon 
which Hardanger embroidery is based, any 
fabric woven with a square mesh so that 
warp and filling are the same size may be 
used. When the threads are drawn, a per- 
fect square must always result. Hardanger canvas, manufactured 
especially for the purpose, is most commonly used, and the various sizes of scrim and Congress 
canvas are also suitable. Many dress materials are adapted to this work, and the possibilities of 
Hardanger embroidery directly upon the fabric of the dress, and worked in the same or harmonizing 
colors, is especially alluring to the feminine mind. 

The uses to which this beautiful embroidery may be put are many. With 
the Norwegian woman the apron is a most important part of her wardrobe, 
and this she decorates most elaborately. Hardanger embroidery makes an 
excellent decoration for curtains, portieres, and bed-spreads. It is a beautiful 

ornamentation for lunch-cloths, sideboard- 
scarfs, buffet-covers, tray-cloths, bags, collars 
and cuffs, belts, blouses, towels, centrepieces, 
pillow-covers, and gowns. One pretty con- 
ceit is the little Hardanger medallion used as 
the cover for button molds. 

When undertaking a piece of Hardanger 
embroidery the first thing to be done is to 
deeply overcast the edges of the canvas to prevent fraying. All work must 
be embroidered before any threads are cut. To cut and draw out the 
threads and then attempt to embroider is to invite trouble and disaster. 
The canvas edges will ravel, the working thread will not lie in the proper position, and the cut edc^es 
will catch the thread to its injury. 

The only materials necessary for the work are a pair of scissors, very sharp, and with pointed 
ends. A dull pair will not cut the canvas clean and close to the embroidery, and the result is 
a ragged appearance to the work. Two sizes of working thread are 
necessary. The coarser is for the embroidery or blocking, and the 
finer for the weaving. A variety in effect is 
produced by using a soft-finished cotton for 
the embroidery and a fine-finished linen or 
mercerized thread for the weaving. For these, 
two sizes of blunt-pointed needles are neces- 
sary. Many workers-get best cesults by using 
embroidery hoops for the work.;' | 

It is well foj the needlewojnan who under- 
takes Hardangej- embroidery, ever| though she 
possesses a bobk-of-Mn-stTactions, to make 

3 




Fig. 3. Kloster Blocks 




Fig. 4. Blocks with 
Cut Canvas 




II.. 5. P.I.iH KS WITH 

Eyelet 




Di.\co.\AL Blocks 





a sampler, learning 

on this the actual 

making of the 

stitches before 

a piece of work is 

undertaken. 

The two prin- 
cipal or foundation 

stitches for Har- 

danger embroidery 

are the satin or kloster stitch used for the solid parts of the 

design, and the over-and-under weaving used in the drawn 

spaces. These two stitches are varied so as to form a great 

number of decorative effects. 

Figures i, 2. — The kloster stitches are always worked before 
any of the cutting of the canvas is attempted. These stitches in their simplest form (Fig. i) are 
worked in parallel rows. The thread is brought up through the selected mesh and carried in 
a straight line over four warp threads, down through the mesh including them, and up through the 
first mesh to the left of the starting-point 



Fig. 8. Mitred Corners 



Doli;le Row of Diagonal 
Blocks 




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Diagonal Buttonholing for Euge 



These stitches may be continued in an un- 
broken straight line, as shown in Fig. 1. If 
worked on the diagonal of the canvas, each 
stitch is lifted one mesh, as in Fig. 2. 

Figures 3, 4, 5. — The little kloster blocks, 
so typical of Hardanger embroidery and which 
in some form make the outlines of all the 
open-work, consist of five stitches over four 
threads with four warp threads between the 
blocks (Fig. 3). To obtain the square or 
battlemented effect (Fig. 4), a block is worked 
lengthways of the canvas, and at the comple- 
tion of the fifth stitch the needle is brought 
up in the same line, but four meshes to the 
left. The thread is drawn through, and the 
needle again inserted in the upper mesh of the last stitch. This makes the first stitch of the 
second block, widthways of the canvas. The other four stitches are worked and the thread carried 
down the underside of the work between stitches and canvas to the line of the lower edge of the 

first block and four meshes to the 
left. From this point the third 
block (in line with the first) is be- 
gun. When all the horizontal blocks 
with their alternating uprights have 
been worked, a second row parallel 
with the first and connecting with 
the uprights is worked. The en- 
closed squares of canvas may be 
cut out (Fig. 4), or an eyelet may 
be worked in the centre (Fig. 5). 

Figure 6 shows simple blocking on 
the diagonal of the canvas (see Fig. 4). 





Fig. 10. Way of Cutting 
Threads 



Fig. II. Way of Weaving 
Bars 




Fig. 12. Way hf Weaving 
Double Bars 




Fig. 13. W.w ur Wurkim. 
Lace Stitch 



Figure 7 shows a 
double row of Fig. 6 enclos- 
ing squares of canvas. 

Figure S. — The mitred 
corner shown in Fig. 8 is 
very attractive, and in some 
places may be used with ex- 
cellent effect ; but it is not 
good for a buttonholed bor- 
der, as the last or corner 
stitches are over only one 
or two warp threads, and 
when the outside canvas is 
cut away, the cut ends under 
the corner stitches will pull out. If mitred corners are 
desired for a border the canvas underneath should be reenforced with a strip of soft lawn through 
which the buttonholing is worked with each stitch into the canvas. When the border is completed, 
the uncovered portions of the lawn are cut away. The buttonholed border may be still further 
strengthened by a line of machine stitching close to the outer edge of the stitches. A very pretty 
result is produced by working a second row of close buttonhole-stitches just over the edge of the 
first row after the outer canvas has been cut away. 

Figure 9. — The edge of Hardanger embroidery is usually finished with a hemstitched hem 
or a row of close buttonhole-stitches over four threads. At each rounding of a corner the stitches 
are taken in the corner mesh and carried along diagonally until four warp threads are covered. 
The direction is then turned at right angles and the buttonhole-stitches worked still from the same 
mesh until the corner is turned. They are then continued until an inner corner is reached. Here 
they are parted at right angles. 

Figure 10. — Care must be e,\ercised in cutting the threads for the openwork of the design. 
Warp threads are always cut along the side of the blocks and never at their ends. In this way the 
cut threads always extend in the same direction as the stitches of the adjoining block. 

Figure ii shows the method of weaving the groups of four warp threads left after the cut 
threads have been drawn out. The needle is passed under the first two threads, up at the middle, 
and over the last two threads. These bars are woven closely and evenly with the finer thread. 

Figure 12. — Each side of Fig. 12 consists of a kloster block seventeen stitches long enclosing 

a square of sixteen 
warp threads with 
four threads cut and 
drawn at each cor- 
ner, leaving a group 
of eight threads at 
the middle of each 
side. These are 
divided into pairs 
of four each, and 
woven in the usual 
way. 

Figure 13. — 
In this detail the 
14. Way of Making Picot enclosing bars are p,^. ,g ^^y ^^ Making 

ON Woven Bar woven until the Twisted Bars 








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Fig. 1 6. Way of Workixg 
Buttonholed Circle 



middle of the fourth side of a little open square is completed. A 
single buttonhole-stitch is then worked into the middle of each 
of the other three sides, the thread returned to the fourth side, 
and the remaining half bar woven (see also Fig. iS). 

Figure 14. — A new arrangement of kloster-stitches is 

shown in Fig. 14. Each side consists of two triangles meeting 

at tlie middle. The first or end stitch is over eight threads. 

The succeeding ones are over seven, six, five, four, three, and 

two threads. The other half is then increased by working over 

three, four, five, six, seven, and eight threads. After the four 

corner threads are cut and drawn, the remaining bars are closely 

woven and decorated with French-knot picots (Fig. 14). The 

needle is passed under two threads as usual, and while in this 

position the thread is brought forward and around the needle 

two or three times. The needle is pulled through and the thread 

drawn up tightly as before, and is again passed under the same two threads to keep the picot in 

position at the outer edge of the bar. It is then passed under the other two threads and a second 

picot made on the other side of the bar, the weaving of which is then continued. 

Figure 15. — In this detail a square of canvas twelve threads each way is enclosed on each 
side by a block of four stitches over four threads, five over eight threads, and four over four threads. 
The four corner threads of the enclosed square are cut and drawn out. The remaining bars are 
closely woven over two and under two threads. At the completion of each bar the thread is carried 
from the centre diagonally across to the outside corner of the adjoining little square and twisted 
back. If preferred, these twisted bars may be two long bars reaching from opposite corners of the 
enclosed squares and crossing in the middle. 

Figure 16. — In this detail the four corner threads each way of the enclosed square of twelve 
threads are cut and drawn out. The remaining groups of four threads each are then woven and 
embellished with a buttonholed circle. The first group of four threads is woven over two and 
under two for its entire length. The weaving of the second bar is begun at the centre of the 
square and woven over two and under two for half its length. The thread is then entered into 
the middle of the first, or completed, bar, back to the second bar, and again into the first. 
This makes three threads connecting the two bars. These are closely buttonholed back to the 
second bar and the weaving continued until the second bar is completed. The thread is carried 
along the blocking to the third bar, which is woven for half its length. The thread is then carried 
three times back and forth between this and the second bar, the connection closely buttonholed, 
and the third bar completed. When the fourth bar is woven half its length, the three con- 
necting threads are carried to the third bar and buttonholed. Then three are carried to the first 
bar and buttonholed, completing the circle. The weaving of the fourth bar is then completed. 

Figure 17. — The eyelets shown in this cut are made with 
the finer thread. A square of four threads is included in each 
of tiie small eyelets. The needle is brought up at the corner 
mesh of this square, and from the middle mesh a close over- 
and-over stitch is taken into each mesh along the four sides of 
the square. No warp threads are cut, but drawing each stitch 
tight pulls them away from the centre and makes the opening. 
Six and eight threads are included in the larger eyelets. 

Figure 18. — Each side of thissqiiare is enclosed with 
a continuous row of stitches, four over four threads, four over 
eight, five over twelve, four over eight, and four over four, 
enclosing a square twenty threads each way. Eight threads 

6 



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Fig. 17. Way of Working F.velets 



are cut away at the corners in each direction, 
leaving four threads in the middle of each side. 
These are divided into groups of two, and are 
closely woven with the finer thread over one and 
under one. The first bar is woven for its entire 
length. When the second bar is half woven, the 
thread is entered in a buttonhole-stitch into 
the middle of the woven bar, then into the adjoin- 
ing side, then into the next side and back to the 
half-woven bar, which is then completed. Tliese 
buttonhole-stitches are drawn tight enough to 
pull the bars out of line and leave an oval open- 
ing between the pairs. The other three corners 
are filled in the same way. 

Figures ig, 20. — Figure 20 shows a band 
of four rows of fagoting. The fagot-stitch is 
simply a binding together of two warp threads, 
from the same mesh, first lengthways, and then 
widthways of the canvas. The needle is entered 



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Fig. 19. Di.\GRAM for 

Working F.\got Stitch 

See Fig. 20 



from the under side of the canvas at i (see Fig. 19), entered into 2, and 
up again at i. The thread is drawn tightly, and the needle again 
entered into 2, and up again at 3 two threads to the left of i. From 
here a stitch into i and out at 3 is made and the thread drawn tightly. 
The needle is again entered into i and brought up two threads below 3 
at 4. The next stitch is from 3 to 4. The ne.xt is from 3 to 5, two 
threads to the left of 4. Then from 5 back to 4, and out at 5. The next 
is from 4 diagonally across two threads to 6. The work is so continued 
across the space, completing the first row of fagoting. In the second 
row the needle is brought up into 2 of the first row, entered two threads 
above and out again at 2, and the work continued as in the first row. 
In this way the required number of rows are made one at a time. This 
stitch sounds much more complicated than it really is, and it may be 
accomplished with great ease and speed. The worker soon discovers. 
that it is really a binding tightly together of two warp threads, 
each pair at right angles to its predecessor and continuing in a 
zigzag line diagonally across the canvas. Bands of this fagot- 
ing of various widths, either worked on scrim and applied or 
■worked directly upon the material of the gown, give it a very 
effective touch of hand-work that adds much to its value and 
1)eauty. Collars and cuffs with hems secured by a band of 
four or five rows of fagoting are very dainty and attractive. 
With a knowledge of the stitches here given and those 
shown in the sampler on the third page of the cover, the needle- 
worker need not hesitate to undertake any design in Hardanger 
embroidery, but always the counting of the threads must be 
exactly accurate. To tlie inventive worker many new combina- 
tions will present themselves. Stitches may be varied, com- 
bined, or added to, until beautiful new results are obtained. 
A sampler upon which to practise these stitches and retain 
them for future use is almost imperative. 




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Stitch. Ske 1-'ig. 19 



Lesson for Centrepiece, Figs. 21, 22, 23 

THE model measures 26 inches square. Begin on the zigzag Hne of blocks just inside the edge, 
count about 60 threads from one edge at the corner (Fig. 21, page 2) and begin an inch in 
from the other edge. Each block is composed of five stitches laid side by side, over four 
threads of the cloth (see Fig. 3, page 3). There are ten blocks across the corner, then ten more in 
a line in from the edge at right angles to the first ten. Continue the lines of blocks, in and out, to 
form the points along the sides of cloth, noting the e.xtra block each side of centre point, which makes 
a wider space between. The oblong sections are next outlined with a row of blocks around each one, 
as are also the squares at ends of oblongs (Figs. 22. 27,). The plain centre of the cloth is outlined 
with a double row of blocks, and inside of this are three rows of double backstitch close together (see 
Fig. 22) the needle being brought up under two threads to right and then under two to left, and one 
row of stitches of each double row being taken in the same holes as one row before it. The two solid 
squares on each side (see Fig. 22) have two rows of double backstitch inside the rows of blocks and 
surrounding the group of squares, diamonds, etc., worked in centre of square, as also the open-cen- 
tred squares at each corner (sec 
I'ig. 27^) within which a triangu- 
lar-shaped figure is worked in each 
corner, surrounding a centre of 
twelve threads square. Each tri- 
angle is made of five stitches over 
four threads, then one each over 
six, eight, ten, and twelve threads, 
decreasing again to six, then five 
stitches over four threads again 
(see Fig. 23). Each oblong sec- 
tion is divided into ten squares. 
In the corner and middle oblongs 
a triangle of four stitches over 
four threads, five stitches over 
eight threads, and four stitches 
over four threads again, is worked 
in each of the four corners of each 
square, surrounding the open cen- 
tre of twelve threads each way 
(see Fig. 22). In the alternate 
oblongs only the outer corners of 
the little squares, along sides and 
ends of oblong, are worked with 
the triangles. A double cross- 
stitch (see Fig. 22) is worked in 
all the tiny squares of four threads 
between rows of blocks, each side 
of openwork border surrounding 
the centre of cloth. And in all re- 
maining little squares, around ob- 
longs, an eyelet is made by putting 
the needle down in the centre and 
bringing it up under two threads 




Fig. 22. Detail of Centrepiece, Fig. 21, Pace 2. 



at the side all around (see Fig. 
22) after first buttonholing edge 
of cloth in points, over four 
threads, as shown in Fig. 1;. 
Eyelets are also worked in the 
tiny squares of plain canvas be- 
tween triangles through the cen- 
tre of the more solid oblongs. 

Threads are now cut and 
tlrawn for the openwork part of 
pattern (see Fig. 21). Four 
threads are cut and drawn, and 
four left, alternately, in all open 
spaces. In the open-centred 
square at each corner, each pair 
of threads of the group of four 
through centre each way, is 
woven separately (see Fig. 18) 
over one and under one thread, 
and a twisted thread run from 
the corner to the middle of each 
woven bar (see Fig. 23). The 
remaining work is clearly shown 
in the illustration on page 2. 







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Fig. -'3. Dli.ml of Ce.ntrepiece, I'lu. 21, Page 2 



Lesson for Border, Fig. 24 



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ll.S work is done with very fine threads. The design consists of squares made up of two rows 
of kloster blocks (Fig. 6, page 3) twenty warp threads apart, and the illustration clearly 
shows the manner of working. The design is especially adapted to dress garniture. 







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Lesson for Table Cover, Figs. 25, 26 

THIS table-cover is 52 inches square, ami the border 7 inches wide when worketl on line Ilar- 
danger cloth. The ij^-inch hem is hemstitched, first drawing two or three threads. The 
hemstitching may be begun at one corner and carried along the two sides, but the remaining 
iides and corners should be left until the embroidery is completed, or at least outlined, to insure a 
correct amount of cloth being allowed. To begin the embroidery at the corner, count twelve threads 
in from the hemstitching on the right-hand side, and sixteen threads on the left, bring the needle up 
:ind take a stitch over four threads (in from the right-hand side), lay four more stitches side by side 
with this, forming a block of five stitches, miss four threads, and make another block of five stitches, 
miss four threads and make the third block, all in a straight row parallel with the right-hand hem- 
stitching (see Fig. 26). Turn, and make a block at right angles to these, another block at right an- 
gles to this and parallel with the third I)lock : continue as in Fig. 26. Tlien make three blocks sepa- 
rated by four threads, on left side, meeting the starting point, and forming a triangle (see Fig. 26). 



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P"iG. 20. Detail of Table Cu\ek, I'li,. 25 
II 



Count sixteen threads from the third block (parallel with tlie hem), and start the diagonal line of 
squares: take a stitch in over four threads, bringing the needle up four threads to the left, then back- 
stitch to last end of first stitch, bringing needle up at starting point; take the third stitch over four 
threads to left, bringing needle up at end of second stitch, then take a backstitch, bringing needle u]) 
at same place. This forms one square. Make a diagonal line of ten squares across the corner, their 
points touching the corresponding points of the row of blocks (see Fig. 26). Count eight threads, par- 
allel with the hem, and start the row of solid squares, the stitches of which are laid diagonally from 
corner to corner of each little square, the longest stitch being over four threads, the stitches decreas- 
ing at each side to the corners. There are twelve of these solid squares in the row'. Next comes a 
row of fourteen of the open squares. Count 31 threads from the beginning of this row, and begin 
the row of palm-leaf figures. Take a stitch diagonally to the left over four threads, bringing the 
needle up mider two threads, towards the hem, take a short stitch over two threads into same mesh as 
long stitch, bringing needle up one hole to left of beginning of short stitch, take the next stitch over 
three threads, next over four threads, and so on to widest part of leaf, which covers ten threads. Then 
decrease to three threads, make six stitches over three threads, then make three stitches over three 
threads, each stitch a thread lower (towards the hem) than the stitch before it. Then one stitch 
over four threads, and one over the two middle threads of the four; then work back on the curved 
part of stem, four stitches over three threads, two stitches over four, and one stitch over the two mid- 
dle threads of the four. Reverse the proceeding for the twin leaf of the first pair. Then take a 
long stitch over four threads diagonally to the left, and repeat for the second and third pairs of 
leaves as for the first. Start a fourth pair, but proceed only as far as the fourth stitches in each leaf, 
then bring to a square corner by a stitch over four threads, then one over two threads, on each 
leaf. This leaves a straight edge to meet the other half of the row of leaves, which point in 

the opposite direction (see Fig. 26). At base 
of the first pair of palm leaves, start a row of 
stitches forming open squares, in from the right 
hem, but running straight way of the cloth, for 
eight squares ; then diagonally for fourteen 
squares more, then eight squares straight to- 
wards left hem. Just inside the diagonal line of 
open squares, work a line of fourteen blocks, 
which frames one side of the large openwork 
s(|uare. Work the other three sides of the frame, 
;ni(l arountl them the row of open square stitch, 
and then the palm-leaf figures outside of all, as 
in Fig. 25. Inside the frame of blocks, count 
twenty threads from the corner, and work the 
double line of blocks surrounding the open cen- 
tre. This completes the flat work, except that 
in every alternate pattern of the border a single 
line of blocks is made instead of the double 
line (see Fig. 25) and the centre is left solid 
and ornamented with rows of open square stitch, 
as Fig. 25 clearly shows. 

Now cut and draw threads for the open- 
work. Cut and draw four threads and leave 
four, alternately, in the triangle inclosed by 
blocks at the comers (Fig. 25,) the larger ones 

T- r- ■ -T^ r- c- T- at the sides in Fisf. 2^, and the large squares. 

Fic. 27. Child s Dutch Cap. See Fig. 30 ''^ '■"^ siucs m i i^,. ^j, » t> 1 




12 




The alternate groups of four threads remaining 
uncut are filled with weaving over two threads 
and under two, as in Fig. ii. In the squares 
with solid centres the middle row of meshes 
in the openwork is filled with point d'esprit. put 
in when the bar on the fourth side of the mesh is 
half woven (see Fig. l8). The centre mesh in 
the more open square is filled in the same way. 



Child's Cap, Figs. 27, 30 

THIS cap is made of Hardanger cloth, No. 5 lustre cotton, and No. 60 linen thread. First out- 
line the design on the front with blocks, each block consisting of five stitches taken over four 
threads of the cloth, leaving four threads between the groups on the straight edge. Work 
around the uncut part in the middle with blocks, and fill the centres with a circle of long stitches radi- 
ating from the centre hole, as in Fig. 30. The folded edge is buttonholed in points. Now the threads 
are cut and drawn for the openwork, cutting four threads and leaving four, alternately. The remain- 
ing groups of four threads are then filled with weaving with linen thread. The back of the cap has 
the uncut design as the centre, surrounded by openwork, with blocks all round. The little square de- 
sign is also worked on the end of each tie. The edge has narrow drawn-work as shown in cut. 



Fig. 28. Det.ml of Cull.ms, Fkj. J9. Full Size 




Fig. 29. Collar Worked on Fine Scrim. See Fig. 28 



Collar, Figs. 28, 29 

EACH half of this collar has 
fourteen squares (Fig. 5, page 
3) worked on a diagonal 
length of fine scrim. The kloster 
blocks in each square are five 
stitches over four threads. The eye- 
let stitches are drawn tightly to make 
the openings as large as possible. 
The warp threads are cut close to the 
outside blocks and picked out twenty 
warp threads into tlie scrim. Where 
warp threads of outside points come 
together the thread is carried back 
and forth a few times to reenforcc 
it. The threads are then woven 
(Fig. II) and the lace stitch worked. 
A row of close buttonholing is 
worked over the reenforced points 
as seen in Fig. 28. 




Fig. 30. Det.\il of Child's Cap, Fig. 27 



13 



Lesson for Apron, Figs. 31, 32, 34 

THIS apron requires a piece of scrim 28 x 30 inches, lu'=tre cotton, linen threatl for weaving, and 
ribbon for strings and bows. Allow 2V2 inches at the bottom of apron for a hem, and work 
a straight row of stitches over four threads fsee Fig. 32). Work the same up the side with 
a verv narrow hem. which is turned under and hemmed down to the stitches on the wrong side. 

Count six threads from side row of 
stitches and take a stitch over the 
next four threads, then six more 
stitches, making a block of seven 
stitches (see Fig. 32). Make another 
block of seven stitches at right an- 
gles to the first, and continue these 
lilocks until six are made as shown 
in Fig. ^2. Then turn, and continue 
like cut. Count six threads and re- 
peat across the apron (see Fig. 32 j. 
Along the upper side of the border 
work another line of stitches over 
four threads, counting 116 threads 
between it and the bottom line. Along 
this line work as before as shown in 
cut. The squares between are out- 
lined by blocks of seven stitches each, 
as sliown in cut ; the openwork squares 
and stars are worked in the centre of 
these, as shown in cut. Each star has 
eight diamonds; the longest stitch cov- 
ers seven threads and the shortest one 
thread. The solid triangles have 17 
stitches: the longest covers ten 
threads, and the shortest two; the tri- 
angles surround a square of sixteen 
threads each way. When the embroi- 
dery is done, the threads are cut and 
drawn for weaving. Cut the six threads 
along the cinis of the stitches of the 
blocks around the open triangle, leav- 
ing the four threads over which the 
blocks of stitches are taken. These 
four threads are then filled with 
weaving, over two threads and under 
two. as in Fig. 11, page 4. When 
each bar is half done, a picot is made 
on each side by twisting the thread 
around the needle, as in making 
French knots, holding it down tight 
with the thumb and drawing the 
Fig. 31. Apron Worked on Scrim. See Figs. .32, 34 "^edle and thread through (see Fig. 




14)- 111 the square space within the four solid triangles, cut and draw six threads at each corner both' 
ways, leaving four threads through the centre each way (Fig. lo). The four threads are then woven 
as before (Fig. ii) and the open spaces filled with twisted threads looped from corner to corner. The 
shoulder straps are 54 threads wide, and buttonholed over four threads, all around. The way of work- 
ing is clearly shown in Fig. 34. page 17. The pocket is worked like the straps and the whole pocket 
is buttonholed all round. The ])ocket is then stitched in place on the apron, and the shoulder 
straps fastened to the top of the apron in front. A bow of the ribbon decorates each strap, the 
two being connected by a band of the same. The top of the apron is shirred, and ribbon strings 
and bows added. The shoulder straps are made long enough to go over the shoulders and 
fasten in the belt in the back, and if made sufficiently long to cross in the back they will 
stay in place more easily. .\lthough it appears rather elaborate, this dainty little apron is not 
at all difficult to make, and can be completed in a short time. Colors may be used in the em- 
broidery if preferred, but the greatest care should be taken to procure only absolutely fast colors. 




Fig. 32. Detail of .\prox, Fig. 31. Flll Size 
15 



Lesson lor Centrepiece, Figs. 2>3, 35 

THIS is a dainty and unusual design, but quickly worked. On scrim it makes a cloth 20 
inches square when completed. The i j^ - inch hem is hemstitched, and a few 
threads drawn for a narrow drawn border, as shown in Fig. 35. 
Then a line of satin-stitch (Fig. i, page 3) is worked (over four threads) completely around the 
cloth inside the hemstitching, as seen in Fig. 35. All the blocks and lines of satin-stitch, or flat work, are 
worked over four threads of the cloth, and are shown so clearly in the illustrations that further direc- 
tions will not be required in following the pattern. 

In the openwork parts, four threads are cut and drawn and four left. The groups of four uncut 
threads being divided and each two threads wound tightly, and closely covered, with a medium-size 
linen thread. The centres of the squares are filled with a simple lace stitch put in with the working 
thread. The wav of working this lace stitch is shown in Fig. 18, but in Fig. 18 the two threads are 




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Fig. 3J. Centrepiece Worked on Scrim. See Fig. 35 
16 



covered with weaving instead of lieing wound. 

The long open spaces are run with a threail 
through the twisted cross threads, over two and 
under two threads, as in the hemstitched horder ; 
the method of doing this is clearly shown in Fig. 35. 

In drawing the threads for the hemstitching, 
they should be carefully cut at the corners and 
not drawn through the hem. If the cloth on the 
under side of the hem is cut away to form a 
mitred corner, it will make a much neater finish 
than to simply fold it over and leave so many 
thicknesses at the corner. Care should be taken 
not to draw the thread too tight in working, or 
the cloth will have a puckered appearance when 
done. Any loosely woven goods, like scrim, i'; 
more easily drawn out of shape than a heavier 
goods would be. This design would also make a 
pretty cover for a colored sofa pillow, with a 
large monogram or other design worked in the 
centre, and an embroidered ruffle of scrim. 




Fig. 34 



111, lAiL OF Shuuliier Stk.^ps Fur .\pro.v 
Fig. 31, Page 14. Full Size 



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Fig. 35. Detail of Centrepiece, Fig. 33. Full Size 
17 



Lesson for Centrepiece, Figs. 36, 37, 38 

THIS piece is l6 inches square. Begin at one point of the corner square (Fig. 38) and count 
about 50 threads from the corner of the cloth, and an inch in from the edge. Make a row 
of eight blocks diagonally across the corner, each block of five stitches over four threads. 
Then turn, and make a row at right angles to this row, and continue as shown in Fig. 38. Then 
work a line of sixteen blocks inside of the inner side of the square, with four blocks of the line 
extending beyond the square on each side. Turn, and continue the line for twelve blocks at right 
angles, then turn, and work twelve more, but toward the edge again. Another square of eight 
blocks on a side is worked in the point thus formed (see Fig. 36). The other half of the side of the 
cloth is worked in the same way, but of course in reverse order, and the remaining three sides like 
the first. The group of four open-centred squares (Fig. 37), is then worked in each corner and 
in the centre of each side, leaving twelve threads of the cloth between them and the row of 



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Fig. 36. Centrepiece Worked on Hardanger Cloth. See Figs. 37, 38 

18 




Fig. 37. Detail of Centrepiece, Fig. 36 



blocks on each side of them. In 
each corner of each open-cen- 
tred square a triangular figure 
is worked, as shown in Fig. t,~. 
The centre of the cloth is out- 
lined with a double row of 
blocks, as are also the four 
openwork squares (see Fig. 36). 
[The threads are then cut and 
drawn for the openwork. In 
the open squares on the edge 
and in the centre, four threads 
are cut and drawn and four left, 
alternately, and in the groups 
of four small squares, eight 
threads are cut at each corner, 
and four are left through the 
middle each way. The groups 
of four imcut threads are then 
woven with linen thread in the 
Hsual way. In bars in the 
larger squares, a picot is made 
on each side of the middle of 
the bar (Fig. 38, and Fig. 14, 
page 5). In the smaller 
squares, the spaces are filled 

with a lace stitch (Fig. 36). The edge of cloth is buttonholed all around, over four threads. 
This design, as illustrated, makes a handsome cloth, but smaller than the usual size of centre- 
piece. It is, how- 
ever, easily enlarged 
to any desired size 
by repeating the pat- 
tern along the sides. 
Worked on fi n e 
Hardanger cloth, as 
was the model, each 
added section of the 
pattern will add 
about four inches 
to the size of the 
cloth. Two repeats 
would therefore give 
about a twenty-four- 
inch cloth. Other 
pretty variations of 
this design may be 
carried out by ref- 
erence to the finished 

P'^*^^" Fig. 38. Det.ml of Centrepiece. Fig. 36 

• 19 




Lesson for Centrepiece, Fig. 39 



IN this design the inner of the two parallel borders (Fig. 39. and Fig. I. page 3), which enclose 
the design all round, should be worked from a corner, in both directions, for at least 7 or 8 inches. 
From the corner of this border 36 warp threads are counted to the right and from this point is be- 
gun the working of the first, or inner, row of blocks (Fig. 6) which extend diagonally across the 
corner in Fig. 39. A second row of blocks, 4 warp threads from the first is next put in as in Fig. 7. 
Twenty threads farther along the border the second double row of blocks is worked (see Fig. 39) and 
20 threads beyond the third row is worked. 

The warp threads are cut and drawn out (Fig. 10) for the openwork. The uncut threads are woven 
with the finer thread. The easiest way to go from one point to another in the weaving is to weave 



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Fig. j9. Corner of Centrepiece Worked on Hardanger Cloth 



20 



o 



Make a group of five stitches side by side over four 



diagonally back ami forth, from sitle to side of the open space. The lace stitches are worked in the 
usual way (see Fig. iS). \ext work the double row of back stitches as in Fig. 39. After the four 
corners of the centrepiece are done the outer row of satin-stitch is worked just 12 threads from the 
first one. The middle eight of these threads are then drawn and the standing threads worked as shown 
in Fig. 39. Five eyelets (Fig. 17) are put in the little corner squares. Finish the centrepiece by a hem- 
stitched hem i>^ inches wide. This design may be increased by adding more rows of openwork. 

Lesson for Scarf, Figs. 40, 41, 42 

XE half of this scarf is shown in Fig. 40. It is worketl on fine Hardanger cloth and meas- 
ures I3>4 by 54 inches. Begin the work at the point in the middle of one end (see Fig. 40) 
and about an inch in from the edge. 

threads of the cloth, then at right angles to 

this make another block of five stitches, and 

so continue until there is a line of twelve 

blocks reaching diagonally across the cloth 

(six of these blocks show in Fig. 42). Then 

make a straight line of 36 stitches over four 

threads. Then another diagonal line of 17 

blocks, to the first point on the side. Turii 

and make eight more blocks in from the edge 

diagonally,* then eight out to the second point. 

Then six blocks in and six out to the third 

point. Then make five blocks in and five out 

to the fourth point, and repeat in reverse 

order to the *, when repeat the whole 

from the * three times, or as long as desired, 

and bring to a point at the other end like the 

beginning, and work around the other side in 

the same manner. Work another row in the 

same way inside of this, leaving twenty-eight 

threads between them (see Fig. 42). Between 

the two rows of blocks are two double rows 

of backstitching ( Fig. 42 ) to make which take 

a stitch diagonally over two threads, bringing 

the needle up in the third hole on a straight 

line from the starting point, then over two 

threads diagonally, bringing the needle up a',; 

end of first stitch, and repeat, making a dou- 
ble line of stitches, each over two threads. 

The second double row of backstitching is 

done in the same way, with two threads of 

the cloth between them. For the openwork 

border (Fig. 42) twenty threads are allowed 

at the point and at the widest space up the 

sides and but four threads at the narrowest 

part, the inner edge of the openwork being 

outlined with another row of block stitches. 

Inside of this, the Jigures and heavy lines in 

satin-stitch are worked, as shown in the illus- 




trations. The heavy lines cover eight threads of the cloth, and the palm-leaf figures seventeen threads 
at their widest part. The centre square of openwork (Fig. 42) is outlined by a row of seven blocks 
on each side, and a row of single stitches over four threads. From the second inner point of the sec- 
ond row of block stitch a straight line of stitches, over four threads, reaches to the fifth inner point, 
making the spaces for the three openwork triangles between this straight line and the row of blocks 
(see Fig. 40). Inside of this line, on each side of the scarf, the pair of smaller solid spaces are 
worked with figures in satin-stitch, as in Fig. 41. These same figures are repeated the whole length of the 
slip. For the openwork part of the work, four threads are cut and drawn and four left, alternately, 

and the uncut threads 
are woven in the 
usual way. The cen- 
tre spaces in the bor- 
der, and every alter- 
nate space in the 
squares, are filled 
with point d'esprit, 
put in with the work- 
ing thread when the 
fourth side of the 
square is half filled 
with weaving (see 
Fig. 18, page 7). 

This beautiful de- 
sign would be suit- 
able to use for either 
dresser scarf, side- 
board slip, or table 
runner for dining or 
library table. As to 
the materials to use, 
a rather close cloth 
like the regular 
Hardanger cloth 
made purposely for 
this work, shows up 
the work of this de- 
sign to much better 
advantage than 
would a more open 
weave, like scrim or 
Congress canvas. If 
it is used for a 
dresser scarf, an 
odd-shaped stand 
cover to match might 
be made by using 
only the large, end 
design ; with the 

border worked 
Fig. 41. Detail of Work on Scarf, Fig. 40. See Fig. 42 




22 



entirely around it to a point on the other side, as it is at the end of scarf. This would also 
make a lovely cover for a parlor table. Colors might be very effectively introduced in work- 
ing this design, if care be exercised in procuring only such materials as may be relied upon to 
be absolutely fast in color, so as to launder without injury. But, after all, pure white will 
generally be found to be the most satisfactory for work that is to be laundered frequently, and 
besides, one does not so soon tire of it as of colors, however artistically they may be employed. 




miiiiiiiiiiiiiiiii 



Fig. 42. Uktail of Work on Scarf, Fig. 40. See Fig. 41 

23 



Lesson for Waist, Figs. 43, 44, 47 

THIS design consists of a yoke, front and back, with seams at the shoulders and the opening at 
the back. Collar and cuffs complete the set. The design (Fig. 43) is worked in squares out- 
lined by parallel rows of Fig. 5, page 3. The middle space is twelve blocks wide. All the 
side squares are ten blocks each way. The two middle vertical rows of Fig. 5 are 38 blocks long, con- 
nected at their lower ends by a horizontal row of similar blocks. This closed end is converted into 
a square by a row of Fig. 5 that extends to right and left out beyond the long vertical rows for nine 
blocks and is then turned at right angles and worked to the top of the canvas parallel with the first 
rows. Two short rows at either side convert these spaces into squares. The upper central space is 
left as an oblong. Beginning at the middle square of this long space one square of Fig. 15 is 
worked in each corner with its long stitches in the same line of meshes with the border. Between 
these squares a diagonal square of Fig. 6, eight blocks on each side, is worked with its middle blocks 
adjoining the diagonal side of the corner squares (see Fig. 44). Inside this square a square of Fig. 
7 with four blocks on each side is worked. The warp threads inside are cut and drawn and those re- 
maining are woven (Fig. 11) with a picot (Fig. 14) on each side of the enclosed central space. A 
large square (Fig. 15) at either upper corner and three square diagonal blocks each of one stitch over 



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24 



one. three, five, seven, .seven, five, three, and one threads completes this half of the space. Using the 
upper block (Fig. 4) of this square for a starting point a diagonal square five blocks of Fig. 7 on 
each side is worked in the space above. The threads within are cut and drawn, and the remaining 
threads woven (Fig. 11) with a lace filling (Fig. 13) in every alternate opening. A large square (Fig. 
15) at each upper corner and two groups of four eyelets at each side complete the space. In the can- 
vas square below a diagonal square outlined with a row of ten blocks (Fig. 6) on each side is cut and 
drawn, and filled with close weaving (Fig. n) and with every alternate square filled in with the lace 
stitch (Fig. 13). In each corner is a half star with each of its four outward pointing sections com- 
posed of one stitch over one, two, three, four, five, six, five, four, three, two, and one threads, and with 
four eyelets between its points. This open square with eight blocks on each side and the half star 
and three eyelets in each corner is used in three of the side squares. In the two remaining spaces one 
stiuare (Fig. 15) is worked in each corner and in the centre is an open square composed of four blocks 
(Fig. 6) on each side with threads cut and drawn, the remaining threads woven and the central open 
space decorated with a single picot on each enclosed side. The design for the collar and cuffs (Fig. 
4~) consists of diagonal squares with six blocks on each side and connected with each other by a 
single kloster block. The threads in these spaces are cut and drawn (Fig. 10) and the remaining 
threads are woven (Fig. 11) and each alternate enclosed square is filled with the lace stitch (Fig. 13). 




Fic. 44. Detail of Waist Design, Fig. 43 



25 



The triangular spaces between are entirely filled 
with Fig. 5. A continuous row of parallel but- 
tonhole-stitches consisting of two stitches over 
four threads, one over six, two over four, etc., 
completes the design. This design, which is 
especially valuable for use in borders and dress 
garnitures, may be varied by allowing more 
space between the diagonal squares and, instead 
of the kloster blocks and eyelets, half or quar- 
ter stars may be worked in the solid spaces. 
It may be increased in width by adding a suit- 
able border design. 



Collar, Figs. 45, 46 




Fig. 45. Det.ml of Fig. 46. Full Size 



THIS design for collar and cuff set is worked diagonally. A row of 56 blocks (Fig. 6, page 3) 
forms the inner edge of the design. Just below the last two blocks at either end a single 
square of Fig. 5 is worked. Below these end squares a row of 28 squares of Fig. 5 is worked. 
The threads between these two rows are cut and drawn, leaving diagonal bands of warp threads cross- 




FiG. 46. Collar Worked on Scrim. See Figs. 45, 48 

ing each other at right angles. With the little squares at the crossings of these warp threads as cen- 
tres fans are woven as in Fig. 48, and the uncovered half of each bar is closely corded. The open 
border is worked like that of Fig. 29, page 13. This design is beautiful for dress garniture. 




Fig. 47. Design for Collar and Cuffs of Waist. Fig. 43 

26 



Lesson for Collar and Cuffs, Figs. 48, 49, 50, 51 



Tllli one-piece collar and cuff set shown 
in Figs. 50 and 51 is worked on a diagonal 
length of fine scrim and consists of twelve 
squares of Fig. 48 enclosed on each side with a 
block of four stitches over four threads, five over 
«iglit and four over four. Vmn threads are cut 

away in each 
d i r e c - 
tion at each 
enclosed 
corner and 
draw n out. 
The filling of 
the open 
space is ex- 





FuLi. Size 



Fig. 48. Detail of Figs. 45, 49 



Fig. 49. Det.ml of Figs, 50, 51. 

actly as shown in Fig. 48 except that the weaving of the fans is 
continued for half the length of the bars. This makes the wrapped 
half of the bars assume a very oblique angle. This row of open- 
work squares (Fig. 48) is bordered by a single row of blocks 
(Fig. 6, page 3) whose corners fall in the same meshes with 
the corners of the large squares. An eyelet is worked in the little open squares between the corners 
of the large blocks (Fig. 49) and the row of Fig. 6. The open border is like that in collar and cufif 
set (Fig. 46). The w^arp threads are cut in the usual way close to the outside blocks and picked out 
twenty w a r p 
threads into the 
scrim. Where 
the warp 
threads of each 
outside point 
come together 
the working 
thread is car- 
ried back and forth two or three times to re-enforce it. The remaining groups of four threads are 
woven and the lace stitch worked into each enclosed square. A row of twelve or more close button- 
hole-stitches are worked over the re-enforced points as shown in Fig. 49. The buttonholing of 
these points is best done as the weaving proceeds, thus avoiding the fastening of new threads and 
at the same time increasing the strength of the work. The surplus canvas is cut away. The lit- 
tle woven crosses are of unusual beauty and may be used with most excellent effect in any design 
worked on the diagonal of the canvas. They are easily worked by the detail, Fig. 48. 




Fig. 50. Cuff Worked on Scrim. See Figs. 48, 49 




Fig. 51. CoLL.^R Worked on Scrim. See Figs. 48, 49 



27 



Lesson for Doily, Figs. 52, 5 



T 



HIS doily measures about 
eight inclies across when 



made on a medium weave of 
Hardanger cloth. Begin work in 
the middle and count six threads 
diagonally from the exact centre. 
Take a stitch over eight threads of 
the cloth, tliLMi take two more on 
each side of this, making five long 
stitches side by side. Then take 
four stitches over four threads on 
each side of the five stitches; turn 
and work at right angles to this first 
line, another line of four stitches 
over four threads, five stitches over 
eight threads and four over four 
threads (see Fig. 52). Then work 
two more groups, each at right an- 
gles to the previous one, so that the 
four form a square around the centre, 
sisting of five stitches over four threads 
threads outside 
threads from 
each of the 
side of these, 
Finish the edge 
the cloth. Now 
each of the five 





nately, cuttijig 
•and never 
threads w i t ii 
on the fourth 
is made -^y 
of the bar on 



Fig 5j. Detail of Doily, Fig. 53. Full Size 

Just outside of this square, work a row of blocks, each con- 
the corners touching the points of the first square. Twelve 
of this, work another row of blocks, and twenty 
this last row work a square, like the centre, in 
four arms of the cross. Twenty threads out- 
work a row of blocks around the whole doily, 
with a row of buttonholing over four threads of 
cut and draw the threads for the openwork. In 
solid squares cut and draw four threads at each 
corner, both ways, leaving 
four threads through the cen- 
tre each way. These remain- 
ing threads are filled with a 
weaving stitch, over two 
threads and under two; then 
run the thread across from 
corner to corner, twisting it 
back around itself. For the 
row of openwork around each 
of the four smaller solid 
squares, cut and draw four 
threads and leave four, alter- 
onlv across the cuds of the stitches of the blocks 
along side of the stitch. Fill these remaining 
weaving, putting in the lace stitch when the bar 
side of the square is half filled. This lace stitch 
looping the working thread around the middle 
each side of the mesh, as shown in Fig. 13. 



Fic. 53. Doily Worked on Hardanger Cloth. See Fig. 52 

28 



Lesson for Centrepiece, Figs. 54, 56 

THE large centrepiece shown in Fig. 54 measures 27 x 27 inches and has for the greater part 
of its border the same design as that used in the lunch-cloth (Figs. 55, 56). A double row of 
solid kloster stitches (Fig. i, page 3) four warp threads apart borders the wide band or in- 
sertion. The design inside this part of the work is exactly like that in the lunch-cloth (Fig. 55), 
but this piece being smaller a continuous border is formed by what in the lunch-cloth is only a corner 
decoration. The outer part of the design consists of open-work points, every alternate square of 
whicli is embellished with the little lace stitch (Fig. 13) and the French knot picots (Fig. 14). A 
border of buttonholed points (Fig. 9) finishes the edge or a hemstitched hem may be used. 




Fig. 54. Clntrepiece Worked on- Haru.\ncer Cloth. See Fig. 56 

29 



Lesson for Lunch Cloth, Figs. 55, 56 

THIS design (Fig. 55), is 3454 x 34J4 inches and has a l-inch hem. Two and one-fourth 
inches in from edge of cloth a straight band of stitches (Fig. i, page 3) over four warp 
threads is worked around the square (see Fig. 56). Outside of band two warp threads are 
drawn to give the effect of hemstitching, and to this open line the hem is laid. Fifty-two warp 
threads up from corner and four threads in from side the row of little blocks (Fig. 6) outlining 
corner square is begun (see Fig. 56). Each side of square is twelve blocks long and they are 
worked from the point of beginning down and towards left front corner, and turned at each corner 
till the square is complete. These squares are continued entirely around the canvas, separated from 
each other by twenty warp threads. The centre of each of these squares is outlined with blocking 
shown in Fig. 15. This includes twelve warp threads each way inside border. These threads are 



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Fig. 55. Lunch Cloth Worked on Hardanger Cloth. See Fig. 56 

30 




31 



cut and drawn in the usual way and the remaining ones closely woven (Fig. ii). Two straight bands, 
four warp threads apart, outline the border on the inner side. Between the squares are half squares 
composed of two rows of kloster stitches (Fig. 7) and extending from the border lines toward centre 
of band. These half squares are just 20 warp threads from the squares. Their centres are cut 
and drawn and the remaining warp threads are closely woven with a picot (Fig. 14) at either side. 
The canvas between half squares and squares is also drawn and woven. These bars are decorated 
on the outside by a single picot and on the inside by the lace stitch (Fig. 13). In each inside corner 
triangles are outlined by double rows of kloster stitches and the enclosed spaces cut, drawn, and 
woven with picot bar (Fig. 14). This design may be varied by continuing the triangles around the 
inner edge of the border. Eyelets may be worked in each kloster block or in the large squares. 




Fig. 57. Centrepiece Worked o.n Congress Canvas. See Fig. 58 

32 



Lesson for Centrepiece, Figs. 57, 58 

THIS piece is 14 inches siiuarc on scrim. I'irst outline uitii the zigzag line of blocks 
along two sides from one corner, inside the buttonholed edge (see Fig. 58). Each block is of 
five stitches over four threads. Inside this row of points, a straight line of stitches is worked 
over four threads, and within each point is a row of four blocks, separated by four threads, close to the 
straight line, with two !>locks running down the centre. Within the straight line are worked two 
rows of six-sided figures with oiienwork centres (see Fig. 58). Each figure is outlined by blocks, 
lour on each side, with a row of blocks and long lines inside of this and bordering the openwork. 
Between these two rows is a row of herringbone-stitch; herringbone-stitching is also done on the 
edge, as is clearly shown by the illustrations. In the spaces between the six-cornered figures is a 
itar of eight serrated diamonds: each diamond is made by taking two stitches over two threads, two 
over four threads, two over six, then two over four, and two over two threads again. The plain centre 
of the cloth is outlined by a straight line of stitches over four threads, and the edge of the cloth is but- 
tonholed in points, over four threails. Now ci:t and draw the threads for the openwork. Cut and 
draw four threads, and leave four, alternately. Then fill the groups of four uncut threads with weaving, 
over two and under two threads, to form a bar. The four centre spaces are filled with a lace stitch. 







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Fig. 58. Corner of Ce.vtrepiece, Fig. 57 
33 



Lesson for Scarf, Figs. 59, 60 



THIS scarf is worked on a medium weave of Hardanger cloth, and is l6 inches in width. Count 
about 80 threads from one edge of the corner of the cloth, and begin the work an inch in from the 
other edge. Work the zigzag line of l6 blocks diagonally across the corner of the cloth, in- 
side the buttonholed edge (see Fig. 60). Each block is of five stitches over four threads of the cloth. 
Turn, and at right angles to the line of 16 blocks work a line of eight blocks, then another line of 
eight blocks out towards the edge again, and continue working lines of eight in and out along the 
sides and ends of the scarf, with a line of 16 across each corner. Count 28 threads in from the line 
just worked, and begin the band of solid work, which is outlined on each side by a double row of 
blocks. The space inside these lines is filled with squares formed by four triangular figures sur- 
rounding an ope n 
centre. The trian- 

g 1 e s are made of 
four stitches over four 
threads, five over eight 
threads, then four over 
four threads again. 
The squares and lines 
of the design through 
the centre of the cloth 
are worked in the same 
way, with double rows 
of blocks and open- 
centred squares. The 
scarf is buttonholed 
around the edge, over 
four threads, following 
the first line of blocks, 
and with their points 
touching, and in the 
tiny squares of four 
threads of canvas left 
Ijetween, an eyelet is 
worked by putting the 
needle down in the cen- 
tre hole and bringinr^ 
it up under two threads 
;it the side all around, 
as in Fig. 60. Eyelets 
are also worked in all 
the little squares be- 
tween the double rows 
of blocks throughout 
the design. When the 
solid work is completed 
the threads are cut and 
drawn for the open- 
FiG. 59. Scarf Worked on Harda.xger Cloth. See Fig. Oo work. Cut and draw 

34 




four threads and leave four, alternately, in all the open spaces. Then fill the groups of four uncut 
threads with weaving, over two threads and under two, back and forth. All the open, square meshes 
that are entirely surrounded by W'oven bars are filled with a lace stitch, put in with 
the linen weaving thread when the fourth bar is half woven (see Fig. l8, page 7). In the open 
centres of the squares, the four threads through the centre each way are woven, and then a thread is 
crossed from corner to corner and twisted back on itself as in Fig. 15. 



Centrepiece, Figs. 6i, 
62, 6'^, 64 

THIS centrepiece, worked on a medium 
weave of Hardanger cloth, measures 
iS inches square. The design runs 
diagonally across the canvas. To begin the 
work, count about 100 threads from the corner 
of the cloth and an inch in from the edge, op- 
posite A, Fig. 61, and work a group of five 
stitches side by side over four threads of the 
cloth (working from corner) ; work another 
block of five stitches at right angles to the first, 
taking the first stitch from the same mesh of 
the cloth as the last stitch of the first block. 
Make seven more blocks, forming a zigzag line 
of nine blocks altogether, then turn, and work 
a line of eight blocks at right angles to the 
first line; then another line at right angles to 
this, and so on, across the cloth, to form the 
five points on one side of centrepiece. Then 
work a line of 22 blocks across the corner, and 
then the five points of the next side; work the 
other two sides in the same wav. This com- 
pletes the first row of blocks just inside the 
buttonholed edge, shown in Figs. 62, 63, and 
outlines the whole centrepiece, but it is well to 
"prove" the correctness of the work as it pro- 
ceeds, by working some other portions of the 
design along with it; such as the row of blocks 
surrounding the large openwork squares in 
every alternate point (see Fig. 63) when this is 
completed you are ready to work the row of 
small open-centred squares just inside of this 
(see Fig. 62). The triangular figure at each 
of the four corners, surrounding the open 
centre, is composed of four stitches over four 
threads, then five over eight threads, then four 
over four threads again. Repeat for the other 
three corners, leaving a square of the canvas 
in the centre 12 threads each wav. which is 








Fig. 60. Detail or Sc-\i<f, 1"ic,. 59 



35 



not to be cut out until all of the solid work is completed. The arrangement of these squares is seen in 
Fig. 6i. The solid square in each corner (see Fig. 64) is worked, first with a double row around of 
the blocks of live stitches over four threads, as shown in Fig. 64. Work an eyelet inside each group 
of four blocks. Inside is a row of cross-stitch, over two threads diagonally, around the square. In the 
exact centre of the square work the star, each diamond covering eight threads at the widest part and 
tapering evenly to only two threads at each point. Between the outer points of the star, eyelets are 
worked. Next work the double line of blocks just outside the wide row of openwork around the centre 
of cloth (see beginning of this openwork in Fig. 62). Count 28 threads for the openwork between, and 
work the inner double line of blocks. Eyelets are worked in each double line as shown in the cut. 
Ten threads inside the inner row of blocks is a row of cross-stitch, and inside this at each corner, an 
eyelet forms the base of a cone-like figure of long stitches, the longest, at the centre, covering 14 
threads, and gradually decreasing at each side. The edge of the centrepiece is buttonholed over 




Fig. 61. Centrepiece Worked on H.^rdanger Cloth. 

36 



See Figs. 62, 63, 64 




four threads, as in Fig. 63, and cyeli.ts art- 
added as shown in the cut. The' threads 
are now cut and drawn for the ojienwork. 
For the wide strip of openwork around tlic 
centre, cut and draw the threads between the 
two double lines of blocks (see beginning in 
Fig. 62). Cut the four threads across the 
ends of the stitches composing the block 
(never along side of the stitch), leaving 
four threads uncut between the group.^ 
of four cut threads. These alternate groups 
of four threads remaining uncut are filled 
with woven picot bars. When each bar is 
half filled with the weaving, make the 
picots, one on each side of the middle of the 
bar. These are made in this way: Bring 
the needle up between the two middle 
threads of the bar, drawing the thread to the 
left and towards you; place the left thumb 
on the thread near the work and pass 
the needle under the thread towards you. 
twist the needle around so as to insert the 
point under the first 2 threads of the bar. 

bringing it up in the middle, draw the loop 

f ^, ., 1 ,• 1.L 1 .1 n Fig. 62. Detail of Centrepiece, Fig. 61 

of the thread very tight around the needle ^ , i u. ui 

and hold it down with the thumb while drawing the needle and thread through it. Repeat on the 

other side of bar for the other picot, and then finish filling the bar with weaving. In the large 

openwork squares in the points the threads are cut and drawn and the bars woven in the same way. 

every alternate space being filled with a lace stitch, put in when the bar on the fourth side of 

the square is half woven. For the squares shown in Fig. 62, cut and draw four threads as in Fig. 

10. page 4, and work as in Fig. 15. In working any design in Hardanger embroidery, great care 

must be used in counting 

the threads and stitches, as 

one little mistake, even if 

of but one stitch, too much 

or too little, will throw the 

whole design out of order 

and make it impossible to 

bring it out right. This 

does not really mean nearly 

so much trouble or eyesight 

as one would suppose as 

generally the blocks are of 

few stitches and a mere 

glance shows if they arc of 

the correct size, without 

any conscious counting of 

stitches. The blocks and 

figures, too, are so con- 




nected that eacli one leads 
naturally to the next. i\nd if 
two or more parts of the de- 
sign are carried along at the same 
time, they will "prove" each 
other and save much uncertainty 
as to whether the work will 
"come out right" at the end. 
No threads should ever b e 
cut until after the embroider) 
is completed. As, if a mis- 
take is found, stitches may be 
taken out, but cut threads can 
never be changed. Also, be sure 
to cut the threads only at the 
ends of the stitches, and never 
along the sides, as there would 
then be nothing to hold the 
threads of the cloth from ravel- 
ing. 

By bearing these few points in 
mind and using care in making 
the work exact, there should be 
no trouble in executing the most 
beautiful designs in this kind of 
embroidery. It is usually done on 
as drawn-work and some other vari 
cal sort of work, Hardanger embro 
of colors, or skill in the placing of 
point in its favor is its durability; 

















i"--e'^t-^>'- 



y^-^*. i^ 



m&^^^^^^^^^^^ 



b'lG. 64. Detail of Centrepiece, Fig. 61 

rather coarse materials, consequently is not hard on the eyes, 
eties of needlework so often are. Being such a purely mechani- 
idery is a godsend to the person lacking the taste in the shading 
stitches, that is required in silk embroidery. Another great 
if well made and proper materials are used, it should last a 



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Fig. 65. Ce.vtrepiece in Yellow and White on Hardanger Cloth. See Fig. 67 



38 



lifetime with the care that should be 
bestowed on any nice work, and when 
soiled it is easily laundered without in- 
jury to the work. Even if one should 
confine herself to but this one species 
of embroidery, there is such a variety 
of designs possible, and such a wide 
range of materials available that there 
need be no hint of sameness in one's 
apparel or house furnishings. Har- 
danger embroidery is always recognized 
as hand work, there being, as yet, no 
machine-made imitations of it. 

Centrepiece, Figs. 
65, (y-] 




Fig. 66. Det.ml of CE.\TREPn:cE. Fig. 68 



THIS piece is about 20 inches square. The model was worked with yellow, with the weaving 
and backstitching done in white linen, thread. Begin at one corner, about no threads from the 
corner of the cloth and an inch in from the edge, and work the row of blocks, each 5 
stitches over four 
threads, just inside the 



buttonholed edge, as in 
Fig. 67. Work around 
in points until the whole 
cloth is outlined with 
this row of blocks, 
though it is a good plan 
to work the second row, 
26 threads inside of the 
first, at the same time, 
so as to be sure, if 
they agree, that each is 
correct. Half way 
between the two rows 
is a solid line of slant- 
ing stitches (Fig. 67). 
taken over four 
threads. A n o t h e r 
solid line is worked at 
the same distance from 
the third row of blocks 
which forms tlic inner 
outline of the openwork 
squares, and meeting, 
to witliin four threads, 
the second row of 
blocks (see Fig. 65). 





IiG. 67. Dkt.ml of CrNTRi:piF.ri-. Fic. 65 
39 



row of blocks forms a small square around the star (Fig. 67). and is worked twenty threads from the 
second and third rows. The star has eight diamonds, each covering eight threads at the widest part 
and decreasing each way to two threads. The edge is buttonholed over four threads, as in 
Fig. 65. In each little square of the edge an eyelet is worked (see Fig. 67). Each side 
of the solid line of slanting stitches and inside the rows of blocks surrounding the star, two rows 
of double backstitching is worked, each stitch being taken diagonally over two threads, and one 
line of stitches of the second row being taken in the same holes as one line of the first row. To 
work the backstitching, bring the needle up through the cloth, and, working from you, take a 
stitch diagonally over two threads, bringing the needle up in a hole two threads from each end 
of the first stitch; take a stitch diagonally over two threads from this hole and bring the needle 
up at the end of the first stitch made. Then repeat as before, thus forming a double line of 
l)ackstitches. The second double line is made in the same way, one row of stitches being laid 



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Fig. 68. Ce.ntrepiece Worked on H.^rpanger Cloth. See Figs. 66, 69, 70, 71 

40 



close beside one row of the first line and made in the same holes of the canvas. For the open- 
work, four threads are cut, aiul four left, alternately, and the weaving is done as usual. The 
middle row of open squares is filled with a lace stitch, as in Fig. i8, page 7. 



Lesson for Centrepiece, Figs. 66^ 68, 69, 70, 71 

THIS piece is 20 x 20 inches on Hardanger cloth. Count about 50 threads from side of cor- 
ner, and an inch in from the other edge, and work the row of blocks just inside the but- 
tonholed edge (see Fig. 69). The blocks are of five stitches over four threads. There are 
eight blocks across the corner, diagonally, then seven more at right angles to the line of eight 
(see Fig. 69). Count twelve threads and repeat the two lines, in and out, for the next point, and 
continue around the cloth. Inside the points is a serrated line, each little point of which is com- 
posed of stitches of graduated length, covering from two to seven threads at the point. This line 
is worked around the whole cloth (see Fig. 69). The large open corner squares are overlaid by three 
smaller squares (F'igs. 66, 71). These are outlined by blocks, as are also the single squares on each 
side of cloth. Between the corner of the large square and the saw-tooth line (Fig. 69) is a 




Fic. 69. Det.\il of Centrepiece. Fig. 68 
41 



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zigzag line, each stitch 
over four threads, and, 
lietween the points of this 
Hne are the figures shown 
in V\g. 69. The centres of 
the openwork squares (Fig. 
66) are worked as shown, 
and in Fig. 70 is seen the 
small open square on sides 
nf cloth. The edge of 
cloth is buttonholed over 
four threads of the cloth 
( see Fig. 69) . For the open- 
work, four threads are cut 
and drawn, and four left, 
alternately ; the uncut 
threads are woven with 
picot bars in fine linen 
thread, and the lace stitches are put in as shown in Fig. 68 and 
details. Directions for making these picot bars and lace stifches 
are given in the chapter on stitches, and plainly illustrated by Figs. 
II, 13, and 14. It would be difficult to fin<l any variety of needle- 
work requiring less skill and experience in producing beautiful ef- 






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Fig. 71. Det.ml of Cextrepiece, Fig. 68 



Fig. 72. Detail of Fig. 73 

fects than Hardanger embroidery. The 
least experienced amateur, by exercising 
care in counting and placing the stitches 
with mathematical exactness, can produce 
as beautiful work as would require long 
practice in most forms of embroidery. 
.■\nd this is doubtless one reason for the 
lasting popularity of Hardanger em- 
Ijroidery, though the intrinsic beauty and 
effectiveness of the work is reason enough 
for its continuing in favor. As there is 
an unlimited variety of designs, from the 
simplest border of block stitches to the 
most elaborate patterns, covering every 
thread of the foundation cloth, so there 
is almost limitless range in variety of ma- 
terials with which any desired effect may 
be produced. 



42 



Lesson for Centrepiece, Figs. 72, 'j'^^^ 75 

THE model is worked on Congress canvas and is 28 inches square. Each medalhon re(iaires 
loS threads of the canvas, with \2 threads more allowed for the narrow band. Fig. ■J2, 
between it and the next one. Begin at one corner, Fig. 75, count 50 threads from one edge 
and begin about an inch in from the other edge. Make six blocks of five stitches each, over 
four threads, then, at right angles to the sixth block, start the straight line of 53 stitches just 
inside the buttonholed edge, Fig. 75. Work six blocks across the next corner, then a line of 53 
stitches along the side, and so continue around the medallion. Four threads inside the outline just 
worked make another line with 37 stitches in the straight row. Inside of this second row, work a row of 
eight blocks across the corners as in Fig. 75, with their corners touching the corners of the previous row 









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Fig. 73. Cextrepiece Worked ox Congress Canvas. See Fig. 75 

43 




Dktail of Fig. 76 



of blocks, and forming tiny squares inclos- 
ing a four-thread square of the canvas. Over 
these four threads a double cross-stitch is 
worked as shown in Fig. 75. 

In the exact centre of the medallion 
work a double cross-stitch over four threads 
•each way, then work four more in a line 
extending in all four directions, when you 
will have two lines of nine crossing each 
other at the centre. Then, with double cross- 
stitch, fill in the outline of each arm of the 
■cross, filling the inclosed spaces with eyelets, 
each eyelet requiring a square of four threads 
(see Fig. 75). Between the arms of the 
■cross and the border, work a large daisy in 
bird's-eye stitch as shown in Fig. 75. Bird's- 
eye stitch is made as follows : Bring the 
needle up through the canvas in the centre 
of the daisy, put it back in the same place and Ijring it up seven threads to one side, put the 
working thread around the needle and draw it through, take a short stitch into the next holes 
of the canvas to hold down the loop thus formed, and bring the needle up at the centre of the daisy 
again ready for the next looj) ; repeat around for the eight loops. 

The edge of cloth is worked in buttonhole stitch, the shortest over four threads, as seen in Figs. J2, 
75. Outside each medallion is a narrow line of openwork. Fig. 75, of four threads drawn and four left, 
alternately, and the threads remaining uncut are woven firmly over two threads and under two until 
the bar is half filled, then a picot is made on each side by twisting the thread around the needle as in 

making French knots, and the 
weaving of the bar is then con- 
tinued; the way of working picot 
bars is shown in Fig. 14. page S- 
The openwork squares are worked 
in the same manner, first being out- 
lined by a row of blocks. The 
narrow bands between the medal- 
lions, Fig. ^2, are worked with 
double cross-stitches, lines of 
straight stitches side by side over 
four threads, and other stitches as 
shown in Fig. 72. It will be seen 
that this design is susceptible of 
variation in many ways. Solid 
or open-work could be used in 
place of the daisies in bird's-eye 
stitch in each medallion, and in the 
centre of the cross the double cross- 
stitch could be replaced by a 
square of open-work with the bars 
woven in varied ways. The straight 
Fig. 75. Detail of Fig. ^2, border could also be altered. 




■44 



Lesson for Centrepiece, Figs. 74, 'jG^ jj 

THIS piece, on Congress canvas, is i8 inches square. Count 50 threads from corner of cloth 
(with a few threads over), and 20 threads in from the edge, and work the row of slanting 
stitches (each over four threads) across the corner as in Fig. 77. There are 36 of these 
stitches, then one over six threads, one over four, and one over two threads, to square the 
corner. Work 11 stitches in a line at right angles to this line, to form the end of the oblong, and 
continue around the other side, as seen in Fig. Jj. In the oblong, the figures are of five stitches each, 
and over 2, 4, 6, and 10 threads, respectively. The openw-ork square, Fig. jy, is outlined with blocks, 
each of five stitches over four threads. Work an oblong on the other sides of the square, as shown 
in Fig. yj. Next, work the line of points just inside the buttonholed edge on the side, between the 
corner figures (see Figs. 76, y"). Take seven stitches over two threads, 4 over four, then take six 




FiG. 76. Centrepiece Worked o.v Co.mgress Caxv.^s. See Figs. 74, 77 

45 



stitches, each stitch being taken one thread below the one before it, the longest over ten threads, 
as in Fig. yy, decrease to four again, then four over four threads, seven over two, and repeat for 
the next point. There are five of these points on each side. Work seven stitches over two threads, 
and then make the square for the next corner, and so on. Allow ten threads for the row of drawn- 
work, and work another row of points in the same way as the first, as seen in Fig. yj \ they should 
match the first row to a thread. Make two more rows of points (see Fig. 76) with ten drawn threads 
as before, allowing 48 threads between the two rows of drawn-work. In the centre of this wide space 
work the shape shown in Fig. 74. The edge of centrepiece is buttonholed all around, as shown in 
Fig. yj, each stitch over four threads of the cloth. For the open square in each corner, draw 
lour threads and leave four, alternately, then weave the bars and put in the lace stitches as in Fig. 
77. The ten threads between the rows of points are cut and drawn, and a double thread run 
through in the manner shown in Fig. JJ. The corner design would make pretty doilies. 



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Fig. 7". Corner of Centrepiece, Fig. 76 
46 



Lesson for Centrepiece, Figs. 78, 79, 80 

FIXE scrim and threads arc used for Fig. ^8. and all the work is done 7 stitches over 6 
threads instead of the usual 5 over 4. Begin work at block just above A. Fig. 79. 140 
threads up from front edge of scrim and 35 in from side. Xine squares of 4 blocks each arc 
worked diagonally across corner. At right angles to these 4 more squares are added, and so on all 
around as shown in Fig. 78. Thirty threads in from this row a single row of blocks of seven stitches 
over six threads is worked as seen in Fig. 80. Between these rows the threads are cut and drawn 
in groups of six, and the weaving and lace stitches are done as usual (see Fig. 80). In each corner and 
point of canvas a Greek cross is outlined by blocks each six stitches over si.x threads, seven over 
twelve, and six over six (see Fig. 80). Six threads are cut in each direction at each of the 8 corners 
of the cross and drawn out. The remaining threads are divided into groups of three and are closely 




Fig. 78. CEXTRtritct Worked on Scri.m. See Figs. 79, 80 

47 



wound with the working 
thread as in Fig. 80. When 
the first bar is wound to its 
middle the lace stitch (Fig. 
18, page 7), is worked in the 
enclosed square w i t Ii i t i; 
stitches drawn tight enough 
to pull the wound threads 
apart. The rest of the wind- 
ing is then completed. This 
filling is like Fig. 18, except 
that the threads are wound 
instead of woven. In each 
corner of the cloth is n 
square, a part being shown 
at A, Fig. 80. Each side of 
this is a row of 8 blocks. In 
the centre is a square with 



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Fig. 7g. Detail of Fig. 78 




Fig. 80. Detail of Centrepiece, Fig. 78 
48 



eyelet. The 
threads i n 
the space be- 
t w e e n are 
cut and 
drawn in 
groups of 
six. The 
weaving 
is over three 
and under 
three and 
lace stitches 
are added as 
in Fig. 80. 
A band of 
blocks com- 
pletes the in- 
n e r edge 
(see Fig. 
80). The 
threads o f 
the edge are 
cut in groups 
o f six, as 
shown in 

Fig- 79. 
woven, and 
the corners 
button- 
holed. 



